CORA GAY CARR AND JERRY SCHLOSSBERG PRESENT the Chin A s a8o Pecia) Free one )'heater k Pr enga esents gement A rock OPera to b bY Y. M. ~Dn 3/wPam Russ ., E EFFECT OF GAMMA RAYS ON AWINdNE-M P1UlZIXUFL SODATHOMPSON --RICK .1 L.. SEASON:' C0NCEIVED AND DIRECTED "SEE THIS PLAY-ONE OF THE BEST THIS ...T, DINO DEfIIJF "BRAVOSTO ALL! A BEAUTIFULPLAY." "'MARIGOLDS' IS A GREAT HUMAN DRAMA MERCER 0'C 240 MERCER ST. N.YC.: WRITTEN WITH SUSPENSE AND COMEDIC' A MUSICAL REVUE-4TH YEAR/DIRECTED BY ALLAN ALBERT MERCER-SHAW ARENA 240 MERCER STREET/OR 3-3937 the 240 Mercer StreetmergerNew York, atticenterN.Y. 10012 (212) 673-3937 Mercer Hansberry Directors : Mercer Shaw Arena Allan Albert Mercer O'Casey Roger Englander Mercer Brecht Gene Frankel Viveca Lindfors' S. C. Kaback "An Actor Works" Irving Koven Gene Frankel's "Workshop" Viveca Lindfors The Kitchen Rip Torn Oscar Wilde Room Steina Vasulka Woody VasuIka IIIIIIIIIII IIIL~»~~n~~I~'1~ nn~e~~m r MrAb f, t u . a No STATEMENT OF iii~099RUM PURPOSE GOWWW0WANN .! " ~-~ "COe""" I The MERCER ARTS CENTER is a specially designed complex that brings together all the various performing arts (both live and medial including off-Broadway theatrical productions, film, dance, music, experimental work in video-tape and cable television, multi-media rock festivals, laboratory productions of work in progress, poetry reading, classes in acting, voice and movement, as well as eating and drinking facilities. All of this wide varitey of activity in the Center serves as a touchstone for further creative development among the resident artists. Traditional productions are mounted side by side with the most experimental productions of new properties. Repertory theaters are learning the uses and esthetics of film and video tape and the modern media is sharing the benefits of classical training and goals . Both the resident artists and the Center's patrons share in the benefits of this extraordinary stimuli . The most creative imaginations and intellects of the time are gathering and working productively, exchanging ideas and skills with each other in a conducive environment. Physically, the Center, when completed, will house seven cabaret-theaters, rehearsal space, two acting schools, editing rooms, construction space for sets, props, and costumes, several small bars, a restaurant, offices, and have access to a 1500 car parking lot. An evening at the Mercer Arts Center is impulsive and casual . Patrons can drop in on the spur of the moment and be sure of finding something interesting to do. The spectrum of possible uses, under the Center's cabaret-theater licenses, range from political cabaret to traditional theater to experi- mental work in any new artistic form. Eating and drinking facilities in the heart of an artistic center make it a natural gathering place for professionals and neophytes to exchange ideas. the merger Oft-# gent r HISTORY Compiled by Joseph Devorkin In February 1852, a memorial service was held in TRIPLER HALL to honor the renowned novelist, James Fenimore The creation of a new theatre complex at this location Cooper, who died the preceding September. The presiding completes a historical cycle. The Mercer Arts Center stands personage was Daniel Webster, statesman and legislator ; on a site which in the 19th Century contained one of New With eulogies delivered by Washington Irving and William York's better known playhouses - from 1850 to 1867. Cullen Bryant; distinguished authors and intimate friends of the deceased writer . Our thanks are extended to Mr. Devorkin for his compilation of this story of the Mercer Arts Center's previous identities. Mr. Devorkin is a writer and a historian The English novelist, William M. Thackeray, completing a on old Greenwich Village. Many of his articles on the tour of the nation, lectured in a farewell appearance at background of the region have been published in the TRIPLER HALL. well-known weekly newspaper, The Villager. He is currently engaged in writing a book concerning certain phases of the TRIPLER HALL and the adjoining LAFARGE HOUSE district, including a section devoted to its theatres in the were destroyed in a conflagration in January 1854. 19th Century., Restored, the auditorium was re-opened in September of that year - carrying the ponderous title of NEW YORK Until the mid-1850s the neighborhood was principally THEATRE and METROPOLITAN OPERA HOUSE. residential . With the rapid increase in New York City's population and its irresistible movement northward, a need for hotel accommodations for foreign and out-of-town In the course of time changes in managements brought a visitors brought the erection of LAFARGE HOUSE, a series of changes in name. In 1855 it became LAURA commodious and outstanding hostelry, on this property, KEENE'S VARIETIES. In 1856 it acquired the name of where the Mercer Street side included TRIPLER HALL, a Burton's (new LONDON) THEATRE . During the year concert auditorium . following the brilliant Shakesperian thespian Edwin Booth opened in Richard III . The background of the theatre is replete with exciting events - too many to recount here in detail . Set forth are Another change took place in 1859 when the title WINTER some of the more important happenings. GARDEN was adopted . Booth returned in the 1860s when he starred in Hamlet ; resulting in an unparalled run of 100 Jenny Lind - "The Swedish Nightingale" - whose manager consecutive performances- "a triumph unknown in the was P.T. Barnum, the great showman, was to have made her annals of the drama." American debut at TRIPLER HALL, Not ready in time for her opening concert, Mr. Barnum arranged for her In 1865 when playing at the WINTER GARDEN at the appearance at CASTLE GARDEN, a vast coliseum at the time when President Lincoln was assassinated by his foot of Manhattan Island, where she made concert history brother John Wilkes Booth, the tragedian had to be escorted on a May night in 1850. It was followed by a series of by police officers through the lobby of LAFARGE HOUSE fifteen concerts at TRIPLER HALL within a four week to his dressing room in the theatre in order to avoid angry period, in the fall of that year. crowds. Other stage celebrities who appeared in the theatre during different 19th Century periods included Charlotte Cushman - 1857 - and Joseph Jefferson (the elder) - circa 1859. When the WINTER GARDEN was destroyed again by fire in 1869, it was never rebuilt. Returning to the hotel phase of the site, LAFARGE HOUSE was reconstructed and enlarged in 1854. Following the 1869 conflagration a newer, greatly expanded and more elegant hostelry was erected. It was one of New York's most important caravansaries. It was first named GRAND CENTRAL HOTEL; then,TH,E,SOUTHERN ; finally.the BROADWAY CENTRAL HOTEL. During the later decades of the 19th Century various episodes took place in the hotel. Edward Stokes, wealthy man-about-town, vied with James Fisk, unscrupulous railroad tycoon and playboy, for the affections of Josie Mansfield, a showgirl beauty. The rivalry came to a tragic end when Stokes shot and killed Fisk on the grand stairway of the hotel. The professional game of baseball reached maturity in 1876 when the National League was organized here. During the 1860s and 70s Charley Pfaff's rathskeller restaurant thrived in a location several buildings south of the hotel . It was a favorite gathering place for literary "Bohemians" . Famous among the many were Walt Whitman, Artemus Ward, Thomas Bailey Aldrich, John Burroughs, William Dean Howells, Georges Clemenceau, later Premier of France (who earlier taught French in a Greenwich Village school). During the "Gay 90s" "Diamond Jim" Brady, master salesman and wealthy epicure, often dined lavishly on the fine foods served in the BROADWAY CENTRAL restaurants. He occasionally gave dinners to intimate groups in private dining rooms on the second floor of the hotel . Two such rooms are part of the present Mercer Arts Center complex - retaining much of their one-time grandeur, with crystal chandeliers, gilded walls and huge fireplaces, adorned in rococo style. After the turn of the century, Trotsky's Kosher Restaurant was conducted at the BROADWAY CENTRAL. A Russian emigre of Jewish background named Leon Borenstein was attracted to the hotel because of it. He subsequently revisited Russia sailing from Halifax, Nova Scotia . He returned months later with forged documents under the adopted name of Leon Trotsky, and then settled in Mexico . Such is the background of this new and vital group of theatres and accompanying facilities. DESCRIPTIONtne mercer arts center The Mercer Arts Center is a two-floor multi-media facility with maximum ceiling heights. It is not only to be used for theatrical production but for motion picture and television filming. Its main floor consists of two facilities: the MERCER HANSBERRY THEATER, with a seating capacity of 299 and the MERCER BRECHT, with a capacity of 199. The stage has five large dressing rooms with separate toilet facilities. The main entrance of the HANSBERRY THEATER not only provides access to the box office and public toilets, but the lobby has facilities for serving liquor and food . This area also has kitchen facilities to provide service for a street cafe as well as intermission refreshments. Adjacent, with a separate entrance, is the MERCER BRECHT. It has a separate box office, public toilets, and refreshment facilities. Directly across from the main entrances to the complex is a 1500 capacity car park with special rates to patrons. This is open to the public with entrances from Bleecker and West Third Street and is only two blocks from the center of Greenwich Village . The second floor of the Arts Center Complex is the heart of the building, with four cabaret-theaters, rehearsal space, two acting schools, offices, a Bar-restaurant, public toilets, and other space easily adaptable_ to the widening scope of media entertainment .